John G. Hamley - The Art of Chapeaugraphy

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Printed in Great Britain by
F. Robinson & Co., The Library Press, Lowestoft
FOREWORD
collar or tying his handkerchief round his
neck.
Providing, as it does, such an inexpensive
yet attractive entertainment, I am surprised
that Chapeaugraphy has not attained a
wider popularity, but I am convinced that
the sole reason for this is that people are apt
to assume that it must be very difficult and
take a long time to learn. That this is not
the case the reader will readily be able to
prove to his own satisfaction. As in all other
arts and accomplishments, practice is essen-
tial, and the beginner should concentrate on
the three following points :—
(1) To memorise the various folds.
(2) Rapidity in turning the felt from one
shaped hat to another.
(3) Change of expression in accordance
with the character represented.
In this book will be found a description of
how the folds and twists are made for each
8
FOREWORD
particular shape, together with a few brief
hints as to expression and make-up. There
is also a diagram showing the folds and
twists and an illustration of each shape to
show how it appears when worn. When
performing it 1s advisable to have a mirror
on the table, so that the performer can see
that he puts the hat on at the right angle
and in the correct manner as well as for
purposes of make-up. The expression on
one’s face should be carefully studied, and
it will soon be found that, with the aid of a
little acting and the few simple properties
mentioned, a realistic and, where suitable,
amusing effect can be imparted to the
characters portrayed.
In conclusion I might add that Chapeau-
graphy is invaluable for charades and im-
promptu theatricals owing to the varied
number of roles that can be played by this
means.
‘)
INTRODUCTION
‘T HE hats described in this book have

been graded as far as possible in order
of simplicity, so that the beginner
may advance in easy stages; furthermore,
the sequence has been so arranged that
certain shapes based on one particular fold
follow one another, which should be helpful
tothe novice. Itis, however, not intended
that the performer should take the order in
which the hats appear as the foundation for
his programme. Having fully mastered the
manipulation of the folds and thoroughly
memorised them, the reader should arrange
his own programme, combining variety of
characters with consistency of make-up.
For instance, it would not be advisable for
IO
INTRODUCTION
a character requiring a swarthy complexion

immediately to follow one that calls for a
ruddy colour, nor for the Turk, where a
blackened moustache and beard are re-
quired, to precede the Nun, as such radical
changes in make-up would inevitably
necessitate a considerable delay in changing
from one character to another. The secret
of the success of Chapeaugraphy is that the
transformation should occur as rapidly as
possible, and it is this point that should
always be kept in view.
iT
THE ART OF CHAPEAUGRAPHY
COWBOY
I2
COWBOY
This figure should open your programme.

The illustration (Fig. I) represents the
modern type of film Cowboy hero. The
performer should wear a bright coloured
neckerchief, loosely knotted, and flourish a
dummy revolver, or a pipe as substitute.
The felt exhibited to the audience, as in
Fig. 2, is put on by placing the head
partially through the centre hole; the brim
is then tilted well to the back, and also
slightly to one side. Stand fully facing the
audience so that nothing but the brim of
the hat can be seen.
T3
THE VATICAN GUARD

pa
THE VATICAN GUARD
Exceedingly simple to make, this hat is

very effective if a huge pair of moustaches
is made up out of crepe hair, or tow, and
worn with it. The coat collar should be
turned up, and a stern expression adopted
as you face the audience. A dummy sword
adds to the effect. Fig. 2 shows the fold,
which is merely the felt doubled with a clip
holding the two sides together in the middle.
Fig. 1 shows clearly how the hat is worn and
the general appearance of the figure.
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CHELSEA PENSIONER
16
CHELSEA PENSIONER
For this character it is really necessary to

have a Father Christmas beard to obtain
the effect of great age. The face should be
made up to look ruddy and your coat collar
turned up to hide shirt front. The hat is
simply made. Take the felt and pinch up
part of the brim to form a “ V,” holding
together at “ b,” Fig. 2, with the clip. Then
roll in back part of the brim as at “‘c.”
Place head in opening “‘ a,” the back of your
head resting against “c.’’ Before your
mirror spread hat well out until it appears
as in Fig. 1. Stand facing audience with a
line of military medal ribbons pinned on
breast, leaning on a thick stick.
17
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PATSY THE IRISHMAN
18
PATSY THE IRISHMAN
A very easy hat to make, but the effect

depends on your assumption of the char-
acter. Wear a choker round the neck, turn
up your coat collar and hold a well coloured
short clay or cutty in your mouth. Assume
a half humorous, half belligerent expression
(see Fig. 1). The hat is made by first folding
the felt in half, then by rolling the double
band round into shape as in Fig. 2, and
fastening with a clip. It is as well to over-
lap felt a little as at “b’’ before holding
together with the clip “a,” as the shape
may get too conical. Wear tipped back a
little and slightly to one side. Clipped part,
’ should, of course, be at the back.
19
BEADLE
20
BEADLE
This is very convincing, and should come

exactly as represented in Fig. 1. The fold,
Fig. 2, is a half twist, which brings part of
the brim “‘ a” through the hole, thus form-
ing the crown of the hat. This is placed over
the forehead with the head fitting in the
space “b.’’ The two side rolls are pulled
well down each side of the cheeks. Make up
with rouge, a ruddy face and nose, turn up
coat collar and assume a bumptious ex-
pression. Face the audience.
21
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GENDARME
22
GENDARME
An old favourite,and a very good hat, too.

Make up with a fierce pair of pointed
moustaches and heavy eyebrows, and keep
coat collar turned up. The hat is a simple
affair. Commence by making the Beadle
(page 5), then spread out the top of the
crown and bring up the back brim to meet
it. Where brim and crown meet fasten with
a clip at ‘‘ b.”’ This is shown in Fig. 2 above.
The back brim spreads out to each side and
forms the correct shape. The head is placed
in ‘a’ and the full face appearance is as
represented in Fig. I.
oH
DUSTMAN :
24
DUSTMAN
One of the old school. Make up the face

toanunshaven appearance. Weara choker,
and your appearance should be as in Fig. 1.
Place your hand to your jaw and bawl
“ Dust-a-hoy !’’ The fold, as shown in Fig.
2, is simply an adaptation of that used for
the Beadle hat, but part “‘ a’’ is here pushed
well up to sit on top of the head, slightly
cocked up towards the front. The head fits
into the space “ 6,” and the rolls “‘c”’ are
flattened out very wide each side of face,
and fall towards back as you face the
audience.
25
DUKE OF WELLINGTON
26
DUKE OF WELLINGTON
This being a General’s cocked hat, the

performer can change the title for any cele-
brated soldier he more closely resembles.
Make up without colour, turn up coat collar
to give a military effect and stand sideways
to the audience as in Fig. 1. To fold, open
the hat right out, push two opposite sides of
the brim through the centre hole until they
meet and can be pulled through together.
When a good crown has been achieved,
place hat sideways on head.
27
=
NAPOLEON
28
NAPOLEON
This is too well known a representation to

give instructions for posing the figure, and
it is sufficient to say if the coat collar is
turned up, the chin buried well in it, and one
hand pushed under the coat over the breast,
the rest can be left to the dramatic resources
of the performer. To make the hat (Fig. 2)
you have only to turn to the Duke of
Wellington and you have it, except, of
course, that it is worn the other way round
with the peaks to the side. In Napoleon
the two flaps which go through the centre
hole should be pushed well through to
shorten the brim, and the back one, “ a,”’
might stand a little higher than the front,
as in Fig. r above.
29
SCHOOLMASTER
30
SCHOOLMASTER
A very good figure. Make up, as in Fig.

‘e with large spectacles, and convert hand-
kerchief by letting ends drop over chest to
form a white slip. Handle a cane or birch.
The hat, Fig. 2, is merely the Wellington
turned upside down, so that you place your
head through the top of the crown “a,”
and the brim forms the mortar board top.
This brim requires adjusting until a good
lozenge shape is acquired; a true square
cannot be obtained, but if you fully face the
audience with the long ends “bd” “6b”
standing out each side of the face, the effect
of a mortar board is excellent.
31
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JESTER
32
JESTER
Not really difficult, but requires to be
well made. To make up for the part, pin
round your neck a coloured paper frill,
which is easily cut with points, and carry a
bladder on a stick; also by turning your
coat inside out a better effect is obtained.
The felt is primarily folded as in the School-
master, except that the two flaps which are
pushed through the centre hole are folded up
again on the outside of the hat “6b” “6”
(see Fig. 2) above. To make this hat suc-
cessfully, “6” “6”’ should be pulled well
through the hole, causing the points “c”
“¢”’ to roll up tight and incline upwards.
The hat is worn as in Fig. 1 by placing head
in “‘a’’ (Fig. 2) from the underside. Any
stance can be adopted, as the hat is right all
the way round.
33
ARTIST
34
ARTIST
This is a simple figure to make, but re-

quires nice adjustment to obtain the brim-
med effect of the hat. Wear a big flopping
bow and make up if possible as in Fig. 1,
the Chelsea type of Artist. Demonstrate
with a paint brush or pencil. The hat
(Fig. 2) is formed by first making the Beadle
(page 5), and then turning the back part of
the brim downwards through the hole “ c.”’
Two rolls “6” “6” are then formed. Place
head in opening with “a” over forehead
and the flap ‘“‘ c’’ at back of the head. Then
before your mirror adjust “db” ‘b” to
form the curled brim of a big Homburg hat.
Fully face the audience.
35
SOLDIER
36
SOLDIER
Fig. 1 represents a soldier of the period

George II. Here the face requires making
up to a weather-beaten appearance, and ifa
false hair queue for the back of the head can
be arranged all the better. Turn up coat
collar to give a military appearance and
smoke a short clay pipe. The fold (Fig. 2)
is a continuation of the Beadle half twist
until a full twist is accomplished, and the
felt assumes the shape shown in the diagram.
This full twist should be accurately obtained
and learnt, as many of the subsequent
figures in this book are founded on it. To
put on hat, place the head in “ a,” allowing
“ 6’’to trail behind, and a side stance should
be adopted so that the audience get the full
benefit of the effect.
37
THE ART OF CHAPEAUGRAPHY ~
PADRE
PADRE
The shovel-hatted village priest so often

seen in France. To dress the part properly
a white straggling wig should be worn, the
coat collar turned up clerical fashion, and a
white slip introduced in place of a tie. The
red face of the Soldier would not be amiss,
but a parchment coloured skin is more
correct. Fig. 2 shows that the hat is pre-
cisely the same as the Soldier, but worn
back to front, the head going in “‘ a,” and
‘b’’ standing out over the face. Stand
sideways to the audience.
39 / Pl
SALVATION LASS
40
SALVATION LASS
Dress this part with a large dark blue

ribbon tied in a bow right under the chin,
part hair in the middle and smooth down to
ears, assume a devout expression (Fig. I).
The hat is again the Soldier slightly modified
and worn in a different way. Open out the
part “a’’ until it has a poke bonnet appear-
ance, and tighten up part “ 5”’ until the felt
appears as in Fig. 2 of the character. The
bonnet is put on with the back of the head
in “a,” and “‘b”’ hanging down behind out
of sight. Stand facing audience, with
thumbs and finger tips together, or hold a
collecting box.
4I
INQUISITOR
INQUISITOR
This impressive figure is much improved

by making up the face with white chalk,
blacking round the eyes with charcoal and
pencilling strong eyebrows, as shown in Fig.
i. The hat, Fig. 2, is the simplest known
method of producing the Inquisitor hood,
although it calls for the help of the clip “ a.”
Here we have again the Soldier fold un-
altered, except that the flat end is clipped to
a point. Looking at Fig. 2 above, place the
back of the head in “ 0,’ allowing the two
sides “c”’ “c”’ to fall each side of your
cheeks. Now before your mirror pull “c”
‘¢”’ right round your chin, emphasise the
peak where the clip “a” is, and folding
your hands across your breast, as in Fig. 1
(which incidently holds ‘“‘ c’”’ “c”’ in place),
turn and face audience. Slowly step to
front of stage and gaze gravely at the
spectators.
43
44
TURK
Induce a fat face by hunching chin on to -

your breast, make up a swarthy skin and
black up a moustache and beard with char-
coal, button up or pin coat collar together,
and with the aid of a length of flexible gas
piping and a decanter simulate a hookah.
The hat is the soldier fold, but by the aid of
a clip at “a,” part “6” is pinched in to
form a fez shape. Place on head plain sur-
face to front, leaving tail “‘c’’ behind. This
tailpiece will drop naturally to one side, but
it should be flattened down and kept as
much as possible out of sight. Face the
audience with an impassive expression,
while you smoke your hookah.
45
CHINAMAN
46
CHINAMAN
An amusing character with comedy possi-

bilities. Tie handkerchief round your neck
and let it fall over chest to hide your collar
and tie; if desirable, make up face with
ochre. The fold (Fig. 2) is one of the most
important in the series, as it converts, with-
out re-folding, into several other hats. It
will be referred to henceforth as the Chinese
fold. In the first place it is the Soldier fold
(see page 9). The felt is then held with the
two rolls upwards and away from you. The
- next move is to take the brim nearest to you,
turn the outer edge up and the inner edge
down. This immediately makes the Chinese
hat. Place opening ‘‘ a” on head and let
om = stick, «up -betimd; but not: “60
prominently. Stand facing the audience as
in Fig. I.
a/
TOREADOR
48
TOREADOR
In dressing for this character utilise a
small bright table cover for a cloak. Make
up a well tanned face and smoke a cigarette
with exaggerated gestures of the hand. The
hat should be worn as in Fig. 1, slightly over
the left eye, but with very little of the
cockade showing at the back. A very good
effect is obtained if the brim is nicely shaped
before submitting result to the audience.
The fold, is the Chinese, but with the lower
part of the brim doubled in to the hole, so
that the brim is only a little more than half
the width of the Chinaman’s. Fig. 2 above
shows this fold at “‘ a,’ and the back “ b”’
is rolled up fairly tightly and made to stand
away to the back at a flat angle. Performer
should face the audience so that only a sug-
gestion of the tail “ b”’ is seen over the top
of the hat.
49
50
NUN
This figure invariably evokes applause.

The dressing is very simple, as it is only
necessary to tie a white handkerchief round
the forehead in a smooth band before the
hat is put on. Assume a calm, sedate ex-
pression with downcast eyes (as in Fig. 1).
The hat (Fig. 2) appears entirely different
to the Chinese fold, but it is actually the
‘same. Take the Chinese hat (Fig. 2), and
pull out the two folds “ 6,” which brings
brim “a” toa point. Now turn over with
point upwards, and open out centre until
shape appears as in Fig. 2 of this character.
Push top part up flat and insert face through
“qa.” The apex of the hat rests on top of
the head partly covering handkerchief, and
-the wide brim ‘‘b” covers chest. Stand
facing audience.
St
Me
INN-KEEPER
52
INN-KEEPER
A gentleman of the time of Dick Turpin.

Make up a red good-natured face, turn up
your coat collar and make a loose cravat of
a handkerchief and smoke a long church-
warden pipe (Fig. 1). Again the felt is the
Chinese roll adapted, or more truly that
used for the Nun, but left in its original
triangle. The underside is shown here in
Fig. 2, and it is placed on the head at “ @”’
with the point “ b”’ to the front. Wear well
to the back of the head and flatten down,
pulling out the three points to give them
prominence.
93
WIZARD
4
WIZARD
A Mephistophelian sort of make-up is
suitable for this character. A cloak made
out of a piece of black or red cloth should be
thrown round the shoulders, and a glass ball
as crystal, a skull or other mysterious object
might be held in the hands. (Fig. 1). The
hat is one of the neatest formations of the -
series, and if the method shown in Fig. 2 is
carefully noted no trouble will be incurred
in producing it. In the first place refer to
the Inn-keeper for the initial shape required.
Now turn this shape over, showing the two
roll points at the top and the plain brim be-
low. Look at Fig. 2 above and with the
right hand “a” grip the rolls under the
brim, and with the left hand “ }”’ hold the
back of the points “c”’ “cc.” By pulling
on “b”’ and pushing with “a,” gently
shaking all the time, the shape shown in
Fig. 1 is quickly obtained, and can be
further improved after placing on the head.
Stand facing the audience.
48,
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CY,
fic Wes,
H pe if lip
SIDE WIEW
SNUFF-TAKER
56
SNUFF-TAKER
This is a character in the style of Hogarth

or old English prints of the eighteenth
century. Make up a slovenly appearance,
turning your handkerchief into a cravat,
and handle a small box to suggest a snuff
box (as in Fig. 1). The hat looks compli-
cated, but it is not so difficult to make as to
afterwards model into a good shape, which
requires some practice. First make the
Chinaman (page 12) ; then holding front of
brim towards you, turn top rim downwards
into hole and pull it out at the bottom. This
makes ‘0;” the two side rolls “c”’ “c”’
will be noted, and ‘‘a”’ is pulled out to a
point (all as shown in Fig. 2 above). Wear as
shown in Fig. 1, peak “a” to the front,
and shape while on head to lines of “ side
view ’’ sketch. Pose sideways to audience,
assuming a bent and crook-kneed stance.
57
PIED~ PIPER
58
PIED PIPER
This character is a good one for the

children ; wear coat inside out with collar
turned up, and play the pipe either actually
or by means of using a stick and whistling.
The fold is merely the Soldier (page 9) with
the part “‘ a”’ (Fig. 2 above) pulled tight up
to a point. The hat is worn with point
pi. ol toprol Mead, the sides “67. c-
are pulled close up to cheeks, the bottom
_ band“ 6” rests round the back of your neck.
- Face towards audience and step backwards
and forwards as you play your pipe.
oi:
LOUIS XV
60
LOUIS AV
If no false beard and moustache are worn

the hair may at least be powdered. Turn
up coat collar and arrange a cravat (lace,
if possible) ; hold a long wand or cue, and
the effect should be as in Fig. 1. The fold
shown in Fig. 2 is a new one, although it
ultimately produces the Chinese fold once
again; but to make the latter first would
offer difficulties in shaping neatly, whereas
the method shown for this figure auto-
matically forms the correct shape. Com-
mence by laying the felt out flat, then fold
the two sides of the brim towards you until
the edges meet and a ‘“V”’ is formed as
shown in dotted line “‘a.’’ Now turn the
nearest six inches of this “‘ V”’ under and
up through hole until it takes up the posit-
ion “ b.” Pull the peak down to the front
and the sides up, and adjust shape before
the mirror. Stand nearly half profile to
audience.
61
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John G. Hamley - The Art of Chapeaugraphy

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ager!

‘T HE hats described in this book have

a character requiring a swarthy complexion

This figure should open your programme.

THE VATICAN GUARD

THE ART OF CHAPEAUGRAPHY

THE VATICAN GUARD

Exceedingly simple to make, this hat is

Wz! fi, Fic. 1.

For this character it is really necessary to

PATSY THE IRISHMAN

PATSY THE IRISHMAN

A very easy hat to make, but the effect

This is very convincing, and should come

An old favourite,and a very good hat, too.

One of the old school. Make up the face

This being a General’s cocked hat, the

THE ART OF CHAPEAUGRAPHY

This is too well known a representation to

A very good figure. Make up, as in Fig.

This is a simple figure to make, but re-

Fig. 1 represents a soldier of the period

The shovel-hatted village priest so often

Dress this part with a large dark blue

This impressive figure is much improved

Induce a fat face by hunching chin on to -

An amusing character with comedy possi-

This figure invariably evokes applause.

THE ART OF CHAPEAUGRAPHY

A gentleman of the time of Dick Turpin.

This is a character in the style of Hogarth

This character is a good one for the

If no false beard and moustache are worn

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